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C. D. ISAACSON.

PERFORATED MUSIC SHEET.

APPLICATION FILED luLYs. 1913.

1,322,448. Patented Nov. 18, 1919.

5 ZLAJ VMWW;

UNITED STATES ."iENT 'fiFFICE.

- ensures-n. 'rssscsomor nnooxmrn, new YORK.

rnnrona-rnn meme;

, To all'wk'amit my concern:

.Be it known that I, CHARLES D. Issacsox, a citizen of the United States, rcsidin at Brooklyn, in the county of Kings and i tate of New York, have. invented new and useful Improvements in Perforated Music-Sheets,

of which the following is a specification.

Tl1is" invention relates to music record sheetssuch as are used on so called selfplaying musical instruments for control v ling the operatin mechanism thereof, andconsists in provic in such sheets with certain distinguishing c iuracters, marks or imprints that will assist the operator in giving a more correct and intelligent interpretation of the music The object of the invention is to provide music. record sheets, such as are wound on rolls, withmea'ns'such as a concise verbal description of the particular selection, setting-forth'in words, an interpretation of the story which the composer has rendered in 'to correspond with the, musical theme,- picmusical notation. In'addition to this'verbal description, there will be printed on or at: tached to the record sheet at various places throughout its length and at suitable points tures, descriptive of the music at the points where applied.

' A record -sheet provided with this invention'will enable-the average person to more correctly interpret the music as conceived by the composer than could ssibly be done with the plain sheet. Be ore starting to play he would read the story and immediately understand the basic idea in the comprofs mind when he wrote the music, the

him the proper 'feeI-in necessa ie. place, conditions and other details which will stimulate the imagination of the player, bring before him a mental picture of the whole musical subject and arouse within in order t'oget the best insults rom the music.- This condition otthe'player is kept up and furthen stimulated by means of a series of ap-.

propriatc illustrations applied to the record sheet at suitable points throruaghoutv the length of the 'sheetand, if .desi suitable suggesti e phrases 'and short sentences explanatory of thc'st'ory, and that also tend taenlightenthe mind of the player ma he printed indifferent places on the s set throughoutitslength. p

' In tl e acmmpanying drawing which representsa music record shoot partly unroiled and loosely-folded to show the features of Specification of lietterl intent. Application filed Jul 3, 191a. Serial in. "were.

certain parts are to .be

- author.

,Pitem'rl Nos. 18. 1919 the invention, 5- indium-s long sheet or strip of paper attached at. one end so roll '6 upon which it is wound for u-vservai-i'on and having a ring 7 at its other end for con nectmg the record sheet to a second-roll by means of .which'the sheet. is fed over the tracker b'ogrd of the musical instrumeii't perforations 8 of various lengths are made in the sheet 5, as usual, to control the playin of the instrument and the length of the in ividualnotes; Besides these perforations there is-generall'y found on the face of the sheet a continuous, irr lar'dotted line by which theexpression of the piecebein;

music.

It is well known that music, in common with poetry and prose, is an exprmsion of the emotions, an outpouring .of ones thou hts and imaginations based on a foun ation of fact or fiction; in other words,

put a player in touch with the 7 a. story or narrative of a truth, a. legend,

gr a concept originating in the mind of the From the fact that a story ex pressed musicall ,appeals to; the finer, more refined, and big er-sensihilities, the correct inter rotation or readin of a musical composition is thereby 'ren cred. more diilicult for theaverage person whose imagination does not reach the high plane occupied by the author.-

. A person may, by following the usual ex pression marks printed on the record sheet, play correctly ,a plece of music in proper time and loudly, softly and moderately as called for hythe composer, without under-' standing what he is playing, or why he plays it as marked. Qne'princ i a1 reason is, he does not know the story 0 "the composition and is following a; trail blindly, his imagination lies dormantihis soul is not aroused, and, tl1ere fore,'his playing is without feelmg or expression, it is cold and mechanical To overcome this diiiiculty and put every player in tbuchi vith the co'mposer by makingTliim acquainted with the story told by the music, the scene or setting of the story. and to arouse and stimulate his imagination and fill his mind with the spirit, the intent, the. soul of the music. there will be printed on or attached to each record sheet atthe beginning a short verbal description of the musical selection on-the sheet in two parts, a rra-nged as follows:

The actfing.-This is a brief description of the time, )lace and all other details understood by 't 1e word setting, the purpose being to place the player in the proper frame of mind to appreciate and absorb the story.

The story.-This is a brief verbal descrip tion toldconsecutively giving a clear interpretation of the composer's theme.

In addition to the verbal description the storv will be further set forth and explained the music progresses by a series of appropriate illustrations printed on or attached at various points throughout the length of the sheet, the pictures showing graphically what the, music attempts to narrate at the various points where applied.

' To make clear the invention, the drawing. which represents a record sheet perforated forjhe well known composition "The Erl- King" by Schubert. arranged by Liszt, may have in addition to said perforations, the usual dotted line and other well known marks of expression, none of which are shown. 'At the beginning of the record sheet there is printed at 9 the setting,' reading as follows:

A road through a forest to which the superstitions ha've credited mysterious legends and supposed to be the home of the Erl- King. A very dark nightthe wind blows dismally and all the spirits of the fairy world seem to be gathered.

This places the person playing in the proper frame of mind to appreciate and understand the story and arouses within him the right feeling. Not knowing the music, he may have imagined a brig it. sunshiny happy scene, but after reading the setting th current of his thoughts immediately changes and a dark, dismal picture fills his mind and he' knows that the music must be played slowly and iii a moody, desolate tone. Following this at the point 10 is the story:

A father is carrying his tiny son to the doctors and his way lies through the forest. The child in its feverish state imagines he hears the Erl-King and his daughterwho .beckon the little one to come. My daughter will dance and sing for you. Come, dear bov. come with me. You shall only play. Flowers are 'all about in my place and my mother has a golden legend. And the boy telhr'his father of the Erl-Inmg, but the e t i l n'eq soothe him and snnrs the horse faster. The ride becomes a ticrv one and at the end the boy diesanswering the call of the Erl-King.

Having read the story carefully, the player can proceed with the music. knowing what the composer seeks to describe, the spirit of his wort, and therefore, knows what the notes mean. Without this foreknowledge, the'music would simply appeal to him as a pleasant, harmonious arrangement of chort s, without meaning other than that suggested by the name.

To maintain the player in this frame of mind. and gradually increase the emotions thus aroused, a series of pictures are printed on or attached to the record sheet at various points. each picture illustrating in the' most graphic manner the story as told by the music at that particular point. These pictures appear in succession as the record sheet unrolls and at just the right time to present to the eye in the simplest and ,clcarest manner possible the feeling and expression the composer wishes imparted to the music.

In the instance shown, the first picture 11 at the beginning of the music shows a di mal forest scene. The next 12. a little farther on. shows a father on horseback holding a boy. The next picture 13 attem its to show The Erl-King (the Forest Ixing) as he appeared to the boy 'in his delirium. beckoning to him, and his daughter. The next 1i attempts to show the mountain nymphs in dance as the boys heated imagination sees them. Then comes the last picture at the close of the roll. again showing the forest. dense.' dark, and dismal. These pictures are like the pictures in a story or any picture book. which he would have never seen otherwise.

These descriptive pictures will first of all enable a player to interpret the music with tru'er expression and ability. The

They visualize for the player that music furthermore will have more meaning to him and give him more pleasure than he could obtain from a non-illustrated record sheet. As pictures were among the first means employed by early man to preserve ancl'convey his thoughts to others. so at the present time pictures tell a story that would otherwise remain unknown to many who do not care for written descriptions. or can not understand them. but who enjoy looking at pictures. It is thought therefore. that music record sheets illustrated as described. will help to' make classical music. now so generally shunned by the uninitiated because not understood. 'more appreciated. sought after, and loved by the iii-asses.

As a further means of assisting the player to understand and correctly interpret the music, suggestive phrases and sentences may be used throughout the mus1c sheet, being m-inted wherever they are, likely to produce he desired efi'ect. Such expressions as the following may be used 'in-The Erl-King.

Whondessp fast in the night and wind;

The? father and child-and the father ..,hql %listhe, slr gl l se -andwarm;

Uli fatlir, dont y'oil 'see' the Erl-King, t ,iseretca e s i ep er o, no m' boyits only the lightning.

The Erlingjs beckoning;

He tells of his .wonders;

Oh, father, dont you hear the Eli-King? No. my boy, its only the wind:

Again the Erl-King uses his marvelous powers of persuasion. His daughter promises' to dance and sing.

h The father spurs on his horse and it flees atrapid ,pace. The wind groans and moans. It grows even darker.

But, too late-the child is dead.

This invention is adaptable to all music record sheets which travel continuously in one direction, and will apply to any selection of music of any nature placed on such sheets.

What I claim is:

1. Amusie sheet )rovided at selected intervals with suitab e perforations for the 'rendi n of a. specific musical composition when said sheet is employed in conjunction with an automatically operated musical instrurnent, said perforations, of themselves. bein' devoid of such characteristics as wou d suggest to the player the composers conception of the emotional interpretation of the composition and a series of pictorial representations carried by the sheet and placed in suitable relation to certain groups of the perforations, and visually indicative 40 and mentally suggestive of the composers conception of the emotional interpretation of the composition represented by the said groups of perforations.

2. A music sheet adapted to be wound in the form of a roll and provided at selected intervals with suitable perforations for the rendition of a specific musical composition when said sheet is employed in con unction with an automatically operated musical instrument, said perforations. of themselves, being devoid of such characteristics as would suggest to the player the composers conception of the emotional interpretation of the composition, a series of pictorial representations applied to the sheet in succession throughout its length and adapted to be successively displayed to theplayer as the roll is unwound, said pictorial representations being placed in suitable relation to 50 certain groups of the perforations and being visually indicative and mentally suggestive of the composers conception of the emotional interpretation of the composition represented by the said groups of perforations, said sheet having thereon at the beginning a verbal description of the Shel-y Or the theme of the musical composition. and short descriptiveword phrasesor explanatory sentences provided r on ,'s ,uds reel; in

such places as' willass stit phr fici oim fully understand ilnd i lti-rpretfilig'fcoiiiposition and parts thqr'eo i'. it

3. Means l'or visually creating ,cniotiinial interpretations to tlie,,.p.l aytu" of. the'fjcomposcr's conception. of ahiusical composition during its rendition "on, an ,autoinatifcallyoperated musical instrumentcontrolled by a musicsheet havin; perforations adapted to produce the tonal characteristics of the composition whcn operated in such instrument, said means consisting in providing the sheet with a series of pictorial representations characterized by their appeal to the emotions and positioned in proper relation to selected groups of n-rforations,each representation visually indicating the conception of the emotional interpretation of that port-ion of the composition covering the particular group. wher by the player will receive mental emotional suggestions of the controlling thought or thoughts to be interpreted and permit the player to manually control the instrument operations to musically interpret the suggestions.

4. A note sheet for an automatic player, having displayed adjacent to the area devoted to the notc-sheet-controlling perforations. :1 visual exposition or interpretation of the llllhlCill scenes represented by the perforations.

5. In a structure such as defined in claim 4, such visual exposition or interpretation consisting in a recital in words of the scenes, occurrences and experiences constituting such exposition or interpretation.

6. A music sheetperforated to control the tonal production of musical selections in aiitomatically-opcrated musical instruments, said sheet having pictorial representations onits face at spaced points in the length of the sheet to expose the representations individually-and in predetermined succession, said representations being respectively located relatively to predetermined perforations or groups of perforations to provide visual pictorial interpretation of the dominant characteristics which are designed to he associated with the rendition of the particuvidnallv and in predetermined succession.

said representations being respectively lo cated relatively to predetermined perforatio'ns or groups or perforations to provide and the representations individually or coI- 10 visual pictoriai interpretation of the domilectively. nant characterlstics which are designed to In testimony whereof I have hereunto fact be associated with the rendition of the 5331 my hand in presence of two subscribing wit ticular portion of the selection p'royide messes.

the perforation or group of perforations CHARLES D. ISAACSON. with which the representation is associated, Witnesses: said sheet also bearing verbal notations per- J. GRANYILLE Mmmns,

mining to theisubject matter of the selection E. H. BICKERTON. 

